{"id":1468,"date":"2010-06-06T23:47:08","date_gmt":"2010-06-07T04:47:08","guid":{"rendered":"http:\/\/fredhatt.com\/blog\/?p=1468"},"modified":"2014-12-14T20:59:17","modified_gmt":"2014-12-15T01:59:17","slug":"ohno-oh-yes","status":"publish","type":"post","link":"http:\/\/fredhatt.com\/blog\/2010\/06\/06\/ohno-oh-yes\/","title":{"rendered":"Ohno: Oh Yes"},"content":{"rendered":"
\"\"<\/a>

Kazuo Ohno, photo by Guido Harari, date unknown<\/p><\/div>\n

Kazuo Ohno, a seminal figure in the butoh<\/a> dance movement and one of the great creative spirits of our time, passed away June 1, 2010, at the age of 103.<\/p>\n

I saw Ohno perform in 1996 at the Japan Society<\/a> in New York.\u00a0 In an essay<\/a> posted on my first website, I wrote, ” I will never forget seeing Kazuo Ohno dance at the age of 90, light as a feather, radiating love, a whole audience embraced in his heart.\u00a0 Love was a palpable force in his performance.”\u00a0 I have never seen another live artist who created such an aura.\u00a0 I felt that the hearts of those sitting around me in the auditorium were opening up, and that a kind of love filled with both sadness and joy was circulating through the theater.<\/p>\n

The soulful singer Antony Hegarty of Antony and the Johnsons<\/a>, whose album The Crying Light<\/em><\/a> is dedicated to Ohno, said, “In performance I watched him cast a circle of light upon the stage, and step into that circle, and reveal the dreams and reveries of his heart. He seemed to dance in the eye of something mysterious and creative; with every gesture he embodied the child and the feminine divine.”<\/p>\n

The arc of Ohno’s career<\/a> was far from the norm.\u00a0 Coming from a fisherman’s family in Japan’s far north, he attended an athletic college.\u00a0 As a student he saw an electrifying performance by the dancer Antonia Merc\u00e9<\/a>, known as “La Argentina<\/a>“.\u00a0 Deeply moved, Ohno knew he had found his muse, but he had at the time no dance training, and it would take him many years to be able to pay tribute to her with his own performance.\u00a0 He was drafted into the army and spent nine years at the front.\u00a0 He presented his first public dance performance at the age of 43.<\/p>\n

In the 1950’s and 1960’s, Ohno was a major collaborator of avant-garde performance artist and choreographer Tatsumi Hijikata<\/a>.\u00a0 Hijikata’s work evolved from raw, radical provocation to a sophisticated choreographic vocabulary based not on external forms but on internal images and sensations.<\/p>\n

In 1977, fifty years after the encounter with his muse, Ohno created the solo performance “Admiring La Argentina<\/a>“, directed by Hijikata.\u00a0 This dance moved audiences around the world, and suddenly in his seventies Ohno had a new career as a solo performer and a new status as a master of soul expression.<\/p>\n

\"\"<\/a>

Japanese Poster for "Admiring La Argentina", 1977, photographer unknown<\/p><\/div>\n

As a dancer, Ohno’s approach was to embody the essence of human feelings, not to act out a story or explore a concept.\u00a0 When he was interviewed at the Japan Society in 1996, in connection with the performance I saw, he was asked what kind of response he hopes to get from the audience.\u00a0 He said the thing he doesn’t like to hear from an audience member is that they “got it”.\u00a0 “How could they ‘get it’?” he asked, “I<\/em> don’t get it.”<\/p>\n

There’s a description of a class taught by Ohno at his studio in the 1988 book Butoh:\u00a0 Shades of Darkness<\/em><\/a>, by Jean Viala and Nourit Masson-Sekine:\u00a0 “[Ohno] doesn’t ‘teach’.\u00a0 He nourishes; he guides; he provokes; he inspires. . . He assigns a subject for improvisation.\u00a0 The ‘dead body’ is a theme he often suggests.\u00a0 ‘What could be the life of that which is dead?\u00a0 It is this impossibility which we must create.’\u00a0 He explains that for his dance, we must not try to control the body, but to let the soul breathe life into the flesh.\u00a0 He adds:\u00a0 ‘Be free!\u00a0 Let go!’\u00a0 Being free is not doing what we want or what we think.\u00a0 On the contrary, it means being liberated from thought and will.\u00a0 It means allowing life to blossom within.” (p. 55)<\/p>\n

\"\"<\/a>

Kazuo Ohno, photo by Ethan Hoffman, p. 46 from "Butoh: Dance of the Dark Soul"<\/p><\/div>\n

The 1987 photography book (in which the image above appears) Butoh: Dance of the Dark Soul<\/a><\/em> includes these extracts from Ohno’s writing, “The Dead Begin to Run”:\u00a0 “Superimposed on the story of the cosmos, man’s story unfolds.\u00a0 Within this cosmological superimposition emerges the path that leads from birth through maturity to death.\u00a0 The Butoh costume is like throwing the cosmos onto one’s shoulders.\u00a0 And for Butoh, while the costume covers the body, it is the body that is the costume of the soul.<\/p>\n

“A fetus walked along a snow-covered path.\u00a0 It cleared a path by spreading its clothes upon the snow after removing them one by one as in a secret cosmic ceremony.\u00a0 Then it peeled off its skin and laid that upon the path.\u00a0 A whirlwind of snow surrounded it, but the fetus continued, wrapped in this whirlwind.\u00a0 The white bones danced, enveloped by an immaculate cloak.\u00a0 This dance of the fetus, which moved along as if carried by the whirlwind of snow, seemed to be transparent.<\/p>\n

“In life there is, without a doubt, something beyond the brashness of youth which bursts like summer light.\u00a0 There is something between life and death.\u00a0 This part of ourselves is like the wreck of an abandoned car; if we fix it, it could start up again.” (p. 36)<\/p>\n

\"\"<\/a>

Kazuo Ohno in "The Dead Sea", photo by Nourit Masson-Sekine, 1985. \u201cThe dead start running\u2026\u201d p. 51 from "Butoh: Shades of Darkness"<\/p><\/div>\n

Perhaps Ohno had to wait for the ravages of age before his body could express this transcendence.\u00a0 I see many performances by young dancers with powerful, trained bodies.\u00a0 But to see Ohno’s small, frail and aged body move was to see divine grace manifesting in the only way it can, through mortal, vulnerable, transient living matter.<\/p>\n

From a young age, Ohno had been devoted to the Christian faith.\u00a0 While his beliefs and their part in his art are barely discussed in any writing I have read by or about Ohno, I see in his work an expression of the Christian theme of divine cosmic spirit entering into bodily form to experience passion, love, sacrifice, suffering and death.\u00a0 This is not just the story of Jesus, as Ohno shows us, but the story of all embodied creatures.\u00a0 And this embodiment is not, as some would have it, the debasement of the spirit, but its exaltation.<\/p>\n

\u00a0<\/span><\/strong>
\n<\/object><\/p>\n

The video above, showing Ohno improvising in his studio<\/a>, is dated 2000, but I don’t know the source.\u00a0 If anyone can identify what this is from, please let me know so I can credit it properly.\u00a0 The images used in this post were all found on the web, and clicking on the pictures links back to their sources.\u00a0 Where the scans I found on the web match illustrations in books I own, I have also noted where they appear in those printed sources in the captions.<\/p>\n","protected":false},"excerpt":{"rendered":"

Kazuo Ohno, a seminal figure in the butoh dance movement and one of the great creative spirits of our time, passed away June 1, 2010, at the age of 103. 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